How is knowledge created, shared, and preserved in the digital age—and what forces are shaping its future?
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We’re thrilled to announce the launch of Future Knowledge, a new podcast from the Internet Archive and Authors Alliance. Hosted by Chris Freeland, librarian at the Internet Archive, and Dave Hansen, executive director of Authors Alliance, the series brings together authors, librarians, policymakers, technologists, and artists to explore how knowledge, creativity, and policy intersect in today’s fast-changing world.
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In each episode, an author discusses their book or publication and the big ideas behind it—paired with a thought-provoking conversation partner who brings a fresh perspective from the realms of policy, technology, libraries, or the arts.
We’re kicking off the podcast with a double feature—two episodes tackling copyright history and AI’s global impact:
Episode 1: The Copyright Wars
Historian Peter Baldwin joins copyright scholar Pamela Samuelson to unpack The Copyright Wars—a sweeping look at 300 years of trans-Atlantic copyright battles. From 18th-century publishing monopolies to today’s clashes between Big Tech, libraries, and the entertainment industry, this conversation reveals how history can illuminate the future of intellectual property in a digital world.
Episode 2: Copyright, AI, and Great Power Competition
Authors Joshua Levine and Tim Hwang sit down with Lila Bailey to discuss Copyright, AI, and Great Power Competition. Together they explore how artificial intelligence is transforming copyright law—and how global powers are using IP policy as a strategic tool in the race for technological dominance.
Whether you’re an author thinking about how to share your work, a librarian navigating digital access, or a curious listener exploring how knowledge shapes our world, Future Knowledge is for you.
Setting up a livestream is more complicated than just turning on a camera. That’s why the Internet Archive tapped into the expertise of Sophia Tung, a software engineer and online content creator, to help create the livestream for its microfiche scanning center, which launched May 21.
The 29-year-old garnered international media coverage for her livestream of robotaxis parked in a depot just below her San Francisco apartment as they jostled and honked – sometimes in the middle of the night.
“I put it up just sort of as a meme to get some attention. If I couldn’t do anything about it, then I might as well make the best of it,” Tung said of the livestream she posted on YouTube with Lo-fi music in the background. “People became fans of it and Brewster [Kahle, Internet Archive’s digital librarian] reached out to see if I could do something similar with the Internet Archive.”
An avid user of the Internet Archive for years, Tung said she was eager to visit its Funston Avenue headquarters and work with the staff on the project. As a sign of our tech-connected times, it’s become popular to have a mesmerizing scene with mellow music playing on a second monitor as people work. Tung said she could envision a relaxing, but informative, feed showing the preservation process.
Sophia Tung
Tung met with the team who take microfiche – flat sheets of film that hold miniaturized documents – and turn them into digital images that can be accessed online. The team is now digitizing U.S. Supreme Court case documents and government records from Canada dating back to the 1930s.
After assessing the space with five active microfiche digitization stations,Tung decided on a three-camera setup for the livestream. One is focused on an operator feeding microfiche cards under a high-resolution camera that captures multiple detailed images. Another is an up-close look of what actually happens on the machine. A third wide-angle camera covers the entire room and is blurred for security, but still conveys motion.
All team members are open to being on camera as they work, but Tung said she recognized privacy concerns may arise. She devised a pause button to be installed to stop the feed, momentarily dimming the “on air” sign in the room. Although initially concerned that employees might not like being on camera, Tung said staff were hired who agreed to the concept and they are on board with the livestream as a mixed media project.
Live activity with the scanners occurs Monday–Friday, 7:30am-3:30pm U.S. Pacific Time (GMT+8)—except U.S. holidays. Ambient Lo-fi music plays continuously. After hours, other Internet Archive content runs on the video feed including silent films, lost landscape footage from everyday life, and public domain photographs from NASA and other sources.
The project has required a combination of engineering to make the infrastructure work 24/7, plus physical design integrating signage and broadcasting lights, which Tung says she enjoyed. Her goal was two-fold: to recreate the excitement of her last livestream and to shine a light on the individuals working behind the scenes at the Archive.
“I always thought about the Internet Archive as just some mysterious entity, trying to preserve what we as individuals cannot. It’s an invaluable tool for journalists and, basically, everybody,” Tung said. “Now, preservation is more important than ever. I think people just assume that it happens. Actually, it takes money, effort, machinery and people. I think it’s important to highlight all the people-hours that go into it.”
Tung produced an explainer video about the microfiche livestream project on YouTube. “The reception has been great so far,” said Tung, who is working on more features and possible additional channels to add to the stream. “I hope the stream brings awareness to the effort it takes to preserve all this important material. If we don’t preserve it now, we are going to lose it.”
All microfiche materials are added to Democracy’s Library, the global project to collect, digitize, and provide free public access to the world’s government publications.
Rob Reich, performing at the Internet Archive’s annual celebration, October 2022.
We are deeply saddened by the passing of Rob Reich, a remarkable musician whose warmth, humor, and creativity touched the hearts of so many. Based in San Francisco, Rob was a frequent and beloved performer in our “Essential Music Concerts from Home” series at the Internet Archive. At the height of the pandemic in October 2020, when we all needed connection and comfort, Rob brought us both. He performed for us a total of eight times, including serving as the MC for two of our virtual holiday parties during the pandemic. His music lifted our spirits, and his presence made everything feel like a celebration.
Rob and his ensemble, Circus Bella, kicked off our October 2022 celebration with their signature whimsy and energy. He was a master of joy-infused musicianship—a true one-man band. Whether playing the accordion, piano, bells, whistles, or cymbals, Rob’s performances were always memorable. One Bastille Day, he performed in a striped shirt and beret, with an Eiffel Tower zoom backdrop, serenading us with French classics.
I once had the pleasure of seeing him perform at Zuni, a favorite restaurant in San Francisco, where he played timeless tunes as patrons enjoyed oysters, Caesar salad, and roasted chicken.You’d never have guessed he was also a circus performer—such was his versatility.
Rob was more than a performer—he was someone we could count on. He was reliable, kind, hilarious, serious, wildly creative, and most of all, genuine.
We are grateful for the joy Rob brought to us and to so many others. His loss leaves a silence, but his music and memory continue to resonate.
A coalition of major record labels has filed a lawsuit against the Internet Archive—demanding $700 million for our work preserving and providing access to historical 78rpm records. These fragile, obsolete discs hold some of the earliest recordings of a vanishing American culture. But this lawsuit goes far beyond old records. It’s an attack on the Internet Archive itself.
This lawsuit is an existential threat to the Internet Archive and everything we preserve—including the Wayback Machine, a cornerstone of memory and preservation on the internet.
At a time when digital information is disappearing, being rewritten, or erased entirely, the tools to preserve history must be defended—not dismantled.
This isn’t just about music. It’s about whether future generations will have access to knowledge, history, and culture.
Yesterday, the Internet Archive submitted its response to the record labels’ recent motion, which seeks to add an additional 493 sound recordings to their lawsuit against the Internet Archive for preserving 78rpm sound recordings.
The Internet Archive’s position is clear: the labels have been engaged in a long-running game of “hide-the-ball” and their motion to file a second amended complaint should be denied.
The full response is available here (PDF); the entire docket is here (CourtListener).
Statement from Brewster Kahle, digital librarian of the Internet Archive:
“More than 850 musicians have called on Universal Music Group to drop its lawsuit against the Internet Archive. Instead, the recording industry has decided to aggressively escalate its attack at a time when the Internet Archive’s preservation efforts have never been more vital.”
Learn more about the lawsuit
In 2023, major labels sued the Internet Archive for preserving 78rpm sound recordings. Learn more about the lawsuit, and why the Internet Archive is fighting back:
Access to cultural heritage is not a luxury; it’s a necessity. Founded in 2005, LibriVox stands out as a crucial resource, ensuring that our cultural heritage is freely and openly accessible. With its mission “To make all books in the public domain available, narrated by real people and distributed for free, in audio format on the internet,” LibriVox brings thousands of texts to modern audiences in audio form. The site operates on a volunteer basis, with community members dedicating time to record and independently publish these works. Each audiobook is dedicated to the public domain upon publication, reinforcing free and unrestricted access to our cultural heritage and history.
LibriVox’s open structure supports preservation and accessibility. All of the recordings from the site cost nothing, have no limitations on listening time, and are devoid of DRM with the availability to download and keep forever. These positives are especially crucial as more aspects of our digital lives come under tighter corporate controls. The Internet Archive also serves and preserves the digital files in partnership with LibriVox and its community. We host a LibriVox collection full of audios, ensuring these adaptations are accessible.
On a personal note, LibriVox has enriched my own experiences with literature. Their dramatic recordings of A.A. Milne’s Winnie-the-Pooh and The House at Pooh Corner—complete with full casts—have brought these beloved stories to life in new and vibrant ways for your ears. These audiobooks have not only made revisiting my favorite texts more convenient but have also deepened my appreciation for these texts. They also have become a reliable companion giving me something to listen to during insomnia-fueled nights of tossing and turning in bed.
History and shared culture are worth preserving. LibriVox’s mission helps to make that preservation more accessible, available, and engaging for us all. LibriVox works utilize books provided by Project Gutenberg, an organization dedicated to making public domain texts available. Take some time to explore our LibriVox Collection and see what stands out to you. You might even find your next favorite book. Or, consider helping to build this rich collection by volunteering with Librivox. Happy listening.
This post is published with a CC0 Waiver dedicating it to the public domain.
Rhapsody in Blue stands as an iconic piece of American music with riveting orchestration, and a cultural footprint that reflects the modernity of the early 20th century. Beyond its artistic merits, the composition has provided numerous cultural touchstones, including its usage as the theme for United Airlines commercials, score backing for films such as “Fantasia 2000,” and countless memorable recorded performances, including a personal favorite by Leonard Bernstein. Among these recordings is a significant one performed by George Gershwin himself at the piano, with accompaniment by the Paul Whiteman Orchestra.
Recorded on June 10, 1924, and released that October, this version is not just historic for its timing, produced shortly after the piece’s premiere in February of the same year, but also for its details. While today’s audiences might not find it unusual, the phenomenon of a composer or musical artist performing their own work is rare in the history of human experience. Until the late 19th Century, the only way to experience music was in a live setting. By 1924, it had become more and more commonplace to experience music through commercially available recordings. When listening to the 1924 recording by Gershwin, listeners today have a direct auditory link to the piece’s 1924 inception. This is in stark contrast to classical pieces by composers like Mozart, Beethoven, and Bach, who never had the opportunity to record their works. Our understanding of these compositions is shaped by interpretations that are decades or centuries removed from their original creation. Yet, Gershwin’s personal interpretation of his composition offers a unique connection to the moment of its creation, allowing us to hear the piano played with the intensity Gershwin intended. It invokes a feeling of closeness to a time long removed from the current moment.
The accessibility of Gershwin’s 1924 recording is enhanced by its passage into the public domain. Such accessibility enriches our cultural heritage and allows for a deeper understanding of the moment in which it was produced. It is not some far-off German or French musical masterpiece, but a living document in which we can hear the direct influence of the composer. This direct access to Gershwin’s performance is an invaluable resource, providing a rare auditory bridge to the past. So, the next time you listen to “Rhapsody in Blue,” consider choosing the 1924 version performed by Gershwin. Imagine the uniqueness of that experience and the profound connection to history it offers, replicating the original sound and transporting us to the moment of a bygone era.
Lights, camera, preservation! On a star-studded evening at the Internet Archive, we rolled out the red carpet to honor the creative works from 1929 and the sound recordings from 1924 that entered the public domain in 2025. And what better way to celebrate than with a glamorous, Oscar-inspired soirée?
Guests arrived in true 1920s fashion, riding in a vintage convertible before stepping onto the red carpet, where they were met by the spirited Raining Chainsaws street theater troupe, who transformed into a fleet of eager, old-time paparazzi—flashing cameras, barking questions, and adding a touch of whimsy and Hollywood magic to the night.
📸 Check out photos from the red carpet!
Inside the Internet Archive, attendees sipped on French 75s and Old-Fashioneds, classic cocktails that transported us back to the final, glittering moments of the Roaring Twenties. The theme of the night? 1929—the year of the very first Academy Awards—and we honored this cinematic milestone with an evening of film, history, and remixing of the past.
🎞 Lecture by George Evelyn on Disney’s The Skeleton Dance Animation historian George Evelyn enlightened the audience with a viewing of The Skeleton Dance, the first of Disney’s Silly Symphonies. With its pioneering use of synchronized sound and animation, the 1929 short was a perfect reminder of how creativity from the past continues to shape the present.
🎬 Public Domain Film Remix Contest Screening What happens when today’s creators remix yesterday’s masterpieces? Our Public Domain Film Remix Contest showcased the most inventive reinterpretations of public domain classics, where old Hollywood met modern storytelling in unexpected and thrilling ways. View all the winners, honorable mentions and submissions from this year’s contest.
👀 Watch the livestream of the night’s festivities
As the evening came to a close, guests toasted to the future of open culture, celebrating the power of preservation, creativity, and the public domain. Thank you to everyone who joined us for this dazzling night of history, cinema, and community!
On January 22, hundreds of people from all over the world gathered together for Singin’ in the Public Domain, a virtual celebration of the works that moved into the public domain in 2025. The event was co-hosted by Internet Archive and Library Futures.
Watch:
Speakers include (in order of appearance):
Natalia Paruz (The Saw Lady), musician
Lila Bailey, Internet Archive
Jennie Rose Halperin, Internet Archive
Sean Dudley, Internet Archive
Jennifer Jenkins, Center for the Study of the Public Domain
Vivian Li, Innovator in Residence, Library of Congress
Tim Findlen (Roochie Toochie and the Ragtime Shepherd Kings), musician
Kathleen DeLaurenti, Peabody Institute of the Johns Hopkins University’s Arthur Friedheim Music Library
Colin Hancock (The Joymakers), musician
Ayun Halliday, Necromancers of the Public Domain
Simon Close, WYNC & Public Song Project
Dorothy Berry, Smithsonian National Museum of African American History and Culture
The following guest post from curator and amateur radio enthusiast Kay Savetz is part of our Vanishing Culture series, highlighting the power and importance of preservation in our digital age. Read more essays online or download the full report now.
A selection of cassette tapes from the “Ham Radio & More” radio show digitized by DLARC.
Amateur Radio has been a hobby for well over 100 years. For as long as there has been an understanding of electricity and radio waves, people have been experimenting with these technologies and advancing the state of the art. As a result, the world has moved from wired telegraphy to tube radios to telephones—fast forward a century—to GPS and high-speed digital communication devices that fit in your pocket.
Advances made by amateur radio experimenters have propelled the work of NASA, satellites, television, the internet, and every communications company in existence today. People fiddling with radios have pushed forward technological advances the world around, time and time again.
And yet, the people making these efforts, doing these feats, aren’t always the best at documenting and preserving their work for the future. That’s where Internet Archive comes in.
I’m the curator of the Digital Library of Amateur Radio and Communications. DLARC is a project of the Internet Archive, and my job is to find and preserve this rich history of radio and communications. DLARC collects resources related to amateur radio, satellite communications, television, shortwave radio, pirate radio, experimental communications, and related communications.
In the two years since the project launched, DLARC has preserved thousands of magazines and journals, manuals, product catalogs, radio programs, and conference proceedings. These materials were scattered worldwide, often inaccessible and in obsolete formats. We’ve digitized material that was on paper, cassette tape, reel-to-reel tape, CD-ROMs, DVDs. We’ve digitized video from 16mm film, VHS, U-Matic, Betacam and even more obscure video formats.
We’ve built a collection of more than 140,000 items and made them available to the world. Researchers, academics, and hobbyists use the library to learn from the rich history of this 100-year-old hobby.
Learn more about DLARC
One reason this preservation is necessary is that the people creating history don’t always realize at the time that they’re creating history. In 1977, the creators of Amateur Radio Newsline—a weekly audio news bulletin—probably didn’t realize that their project would still be going on in 2024, 47 years later. And for all of their amazing work, if they had realized they were documenting history, they might have made more effort to save those recordings: the first 20 years of their work are missing. (DLARC has found some recordings from 1996, then most of them since 2012.)
Sometimes creators do recognize the importance of their effort. For more than six years, Len Winkler hosted Ham Radio & More, a radio show about amateur radio. Winker recorded every episode on cassette tape and managed to digitize many of the shows himself. However, the process of digitizing hundreds of episodes is tedious and he wasn’t able to complete it. With his approval, DLARC stepped in to finish the job. They’re all online now, more than 300 episodes including interviews with many notable names in the radio community.
There have been other huge successes: the entire 43-year run of 73 Magazine is digitized and online thanks to the publisher, Wayne Green, who donated the collection to Internet Archive before his death. Most issues of The W5YI Report, a ham radio newsletter that was published for 25 years, are online as well.
Attempting to preserve material years, or sometimes decades, after the fact makes systematic preservation nearly impossible. For every success story of content saved and archived, there is a heartbreaking story of loss. When amateur radio enthusiasts die, their media collections are often disposed of by survivors who don’t have any connection to amateur radio. File cabinets and bookcases full of (sometimes irreplaceable) materials are emptied into recycle bins.
Another challenge to preservation and access is membership organizations that keep their material behind paywalls. They sometimes prevent any of their information from being lent in an online library, which it is their right to do. However while they actively thwart efforts at preservation, it remains unclear whether those groups are adequately preserving their own history.
Some material is preserved intentionally, but a good amount was saved purely by accident. The material we recover and digitize has come from attics and basements, from libraries discarding obsolete material, from long-forgotten FTP sites, from scratched CD-ROMs, and from the estates of people who have passed.
So we float where the radio waves take us, trying to preserve the past as much as possible, while encouraging today’s content creators to consider how to make their material accessible to future generations.
